Women and the Politics of Travel, 1870-1914The accepted critical view that late nineteenth-century women travelers were poor carbon copies of male originals has been increasingly shown to be invalid. Late nineteenth-century women's travel literature adhered to a particular worldview as it presented a woman's viewpoint. Closely tied to the given reality of mainstream late Victorian culture, such literature nearly always reflected contemporary social concerns closely related to late nineteenth-century British imperialism. Nonetheless, this work argues that in mapping out a particular performance space for themselves, late nineteenth-century women's travel and travel literature revealed changes in the way society thought about women. |
Contents
| 7 | |
| 9 | |
| 13 | |
All Red Routes Text Performance and Empire | 32 |
Line of Sight Narration and the Spectator in Isabella Birds The Golden Chersonese | 78 |
Roleplay and Florence Dixies In the Land of Misfortune | 119 |
Romance Reality and Letter Writing in Kate Marsdens On Sledge and Horseback to Outcast Siberian Lepers | 154 |
In the choice of their dress SelfRepresentation and the NineteenthCentury Woman Traveler | 198 |
Conclusion | 222 |
Appendixes | 225 |
Chronology | 227 |
Notes | 237 |
Works Cited | 261 |
Index | 280 |
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Common terms and phrases
Amelia Edwards argues Bird's Bishop Boer Britain British imperial Cambridge century Cetshwayo Colenso colonial colonialist critical cultural discourse Dixie's dress Empire English epistolary European exploration female feminine Finland Flora Shaw French-Sheldon gaze gender Gertrude Bell Golden Chersonese Hapgood Horseback to Outcast Ibid images Isabella Bird Journal journey Kate Marsden Kranidis Lady Florence Dixie Land of Misfortune late nineteenth-century letter London Malay male maps Margaret Mary Gaunt Mary Kingsley masculine ment Miss Kate Marsden Miss Marsden Mission in Siberia narrator Natal nation native nineteenth nineteenth-century women travelers nonetheless Oriental Outcast Siberian Lepers Oxford performance political published Quoted race reader reading Review role Routledge Royal Geographical Society Russian Siberia Sledge and Horseback social South Africa space story Sultan to Sultan tion tourist travel narrative travel writing Tweedie Tweedie's University Press vestimentary Victorian West Africa woman women's travel writing Yakutsk Zealand Mail Zulu Zululand
Popular passages
Page 75 - time: Take up the White Man's burden— Send forth the best ye breed— Go bind your sons to exile To serve your captives' need; To wait in heavy harness On fluttered folk and wild— Your new-caught, sullen peoples,
Page 55 - found colonies as fast and as far as she is able, formed of her most energetic and worthiest men;—seizing every piece of fruitful waste ground she can set her foot on.
Page 76 - are the first race in the world, and . . . the more of the world we inhabit the better it is for the human race.
Page 75 - Go bind your sons to exile To serve your captives' need; To wait in heavy harness On fluttered folk and wild— Your new-caught, sullen peoples,
Page 32 - The theater is precisely that practice which calculates the place of things as they are observed: if I set the spectacle here, the spectator will see this; if I put it elsewhere, he will not, and I can avail myself of this masterly effect and play on the illusions it provides.
Page 47 - lay the map of Australia before him, and regard the blank upon its surface, and then let me ask him if it would not be an honourable achievement to be the first to place foot in its centre.
Page 237 - 10. Anne McClintock, Imperial Leather: Race, Gender, and Sexuality in the Colonial Contest (New York: Routledge, 1995), 16.
Page 113 - If the explorer moves toward the risks of the formless and the unknown, the tourist moves toward the security of pure cliche. It is between these two poles that the traveler mediates, retaining all he can of the excitement of the unpredictable attaching to exploration, and fusing that with the pleasure of "knowing where one is
Page 107 - The paradox, the dilemma of authenticity, is that to be experienced as authentic it must be marked as authentic, but when it is marked as authentic it is mediated, a sign of itself, and hence lacks the authenticity of what is truly unspoiled, untouched by mediating cultural codes The authentic sight requires markers, but our notion of the authentic is the unmarked.
Page 20 - As focal point of cultural consciousness and social change, writing weaves into language the complex relations of a subject caught between the problems of race and gender and the practice of literature as the very place where social alienation is thwarted differently according to each specific context.